Faced with crisis, the man of character falls back on himself. He imposes his own stamp of action, takes responsibility for it, makes it his own.
A man of character finds a special attractiveness in difficulty, since it is only by coming to grips with difficulty that he can realize his potentialities.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
As a female there aren't too many characters that are very empowering, and there's something very empowering about Lara Croft. She kicks butt and she does it in style. She's confident and she's educated.
When I wrote 'We Can Be Heroes,' I was just so excited about the concept of playing loads of characters, and a television series allows you to do that.
It's obvious that if you're going to play a character you need to amass information about that person and about their environment or their era that they're in and use as little or as much as necessary.
If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
When we see persons of worth, we should think of equaling them; when we see persons of a contrary character, we should turn inwards and examine ourselves.
I try to find what is closest to me in the character. There's many sides to personality, but it's a matter of, do you entertain those specific areas of your personality, or are you afraid to entertain them?
'Star Trek' scared me a lot more than 'White Jazz.' It terrified me, really. Because of the scale, the responsibility, the fact that it was this iconic character. It was the bigger challenge, so I had to take it.
I don't really read any comics, but when I got casted on the show, I starting reading 'The Walking Dead' comics. I felt like I needed a better idea of the character.
I feel like a lot of the portrayals of, in particular, younger minority ethnic characters on television, a lot of their dialogue, a lot of their characteristics, a lot of their personality in a writer's eyes, is kind of propelled through their ethnic...
The nightmare of a film career, or at least the challenge of one, is that you're rarely going to get the opportunity to explore character because once people see you in one thing, you know, they want to see that again.
I've never been an impressionist. I was doing Sofia Vergara and Elizabeth Dole. I'm sometimes so low-confidence and self-aware, so characters that are confident and ignorant and wrong are my favorite.
Well, I think in my first two novels, both the characters are pretty neurotic, which I would say that I am.
I guess because I pay so much attention to the physical part of the character, I don't look upon it as like Charlize Theron up there. I don't think of them as like Charlize Theron films.
Comedy comes from a place of hurt. Charlie Chaplin was starving and broke in London, and that's where he got his character 'the tramp' from. It's a bad situation that he transformed into comedic one.
I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.
I think when your image becomes so big that it's hard for a viewer to see a character, then I think you're in danger as an actor of being unable to perform what you should be doing.
Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.
All thought must, directly or indirectly, by way of certain characters, relate ultimately to intuitions, and therefore, with us, to sensibility, because in no other way can an object be given to us.
